Fuzz Club Records

The Entrance Band 'Fuzz Club Session'

Fuzz Club Records

The Entrance Band 'Fuzz Club Session'

LA trio The Entrance Band (ft. members of Pixies, A Perfect Circle, QOTSA) are the latest addition to the ‘Fuzz Club Sessions’ series - the warm, analog recording allowing their tripped out blues to shine in all its lysergic glory. As with all Fuzz Club Sessions the album is recorded live and onto 2” tape.

The LP is made up of three brand new improvised jams that see their warped groove-ridden psychedelia at its best, as well as a woozy downtempo rendition of The Seeds’ ‘Can’t Seem To Make You Mine’. These new jams mark a distinct difference from the howling acid-rock numbers seen on previous albums, instead offering a totally hypnotic and dreamy journey through their majestic psychedelic prowess.

Italy’s Throw Down Bones are something of an enigma in the experimental underground. Since the release of their highly-praised 2015 self-titled album, they’ve picked up a notorious reputation on the European live circuit for their pulverising, constantly-mutating live shows.

In a review of the debut, album listeners were told to “make no mistake, this is dance music” and that may have been true back then but now, back with their second album titled Two, the band have taken that to a whole new extreme.

Ditching the hypnotic coldwave tendencies of their earlier work for an all-out sonic assault of industrial four-to-the-floor rhythms and screeching acid house. Two is due for release via Fuzz Club Records on October 26th and see’s the band deal in floor-shaking industrial techno-post-punk occasionally steeped in a euphoric acid-house sheen.

Where the old Throw Down Bones was better suited for intimate venues and psych fests (of which they were a frequent staple, from Liverpool to Eindhoven and everywhere in between), this new evolution sees them turn their eyes to the most underground techno clubs and the sleaziest warehouse venues.

Imagine Death In Vegas, Factory Floor and Aphex Twin jamming in a room together and you might come close but Throw Down Bones would be reluctant to point to any ‘influences’. For them, their corrosive industrial workouts are simply the product of their environment and attitudes, as opposed to who they’re listening to at any given moment.

The two key members of Throw Down Bones are Francesco Vanni and Dave Gali but on this effort, their producer James Aparicio also played an integral part in writing the album. Francesco spends his time building bespoke FX pedals and analogue synths under the name Noise Militia and James was formerly the in-house engineer at the Mute Records studio, his credits including Spiritualized, Liars, Nick Cave, Depeche Mode, Mogwai and many, many more.

With Noise Militia prototypes littered around the studio, Francesco and Dave’s knack for instrumental experimentation and James’ studio prowess, it should come as no surprise that the result is a collection of tracks that push Throw Down Bones’ electronica right to the brink. If you like your music intense, punishing and ear-drum-rattling then this is the record for you.

The first three tracks on the album ‘First Follower’, ‘We Are Drugs’ and ‘Slow Violence’ lay out the bands mission from the off, bursting through a pulsing electronic throb are unrelenting motorik basslines that twist and contort as they circles around and around and around, layers of juddering hardware electronics constantly punching through.

Then there’s ‘Golovkin’, a merciless all-out rave track that zaps you right in the cortex and the electro-throb of ‘Zero Day Exploit’ that, like a cyber-attack of the same name, is an unstoppable attack on the senses – it’s less in-your-face than the rest of the album but try and stop that programmed acid-tinged groove from tearing through your bloodstream.

It’s too late, you won’t stand a chance. If their earlier instrumental-oriented works leant into dance territory, then this is the band embracing that with open arms and wide eyes ready to soundtrack the mother of all parties, one punctuated by pure hedonism and a sense that this could very well be the last dance on this wretched rock.

Tracklisting:1. First Follower 2. We Are Drugs 3. Slow Violence 4. NO-FI 5. Golovikin 6. Is This Us 7. Known Unknown 8. Zero Day Exploit

Available on 180-gram vinyl. On the latest Fuzz Club Session we dragged The Gluts from their native Milan to bring them aboard Soup Studio, a boat turned recording studio in East London's Trinity Buoy Wharf.

A formidable live force, the session sees them scorch their way through six tracks of relentless, grimacing noise-punk that captures the band's snarling, fuzzed-out power in all it's glory - translating just as well in the studio as it does when they're on stage.

The LP, due for release November 23rd, contains five tracks from their Fuzz Club released sophomore album, Estasi (2017), and one cut from their debut album Warsaw (2014).

On ‘Vonal-Axis’, their fifth album in a career spanning two decades, Steeple Remove have signed to Fuzz Club and carved out an album that warps their Moog-devotion into a whole new beast.

One that journeys from shoegaze-drones that weigh heavy on your chest (“Oval Strii”, “Monochrome Continuum”), to kosmische psychedelic pop (“Waters”) and dub-inflected post-punk (“Ferris Noir”) that falls somewhere between Metal Box-era PiL and the shimmering, textural guitars of The Durutti Column.

Vonal-Axis, due for release November 30th, is the bands finest work yet - their latest in a very lengthy career that’s seen them remain a mysterious presence on the fringes of the experimental French underground since forming the project back in 1997.

Emerging out of Rouen, a small city in the Normandy region of France, the four-piece arrived with their now impossible-to-find debut album, The Importance Of Being Steeple Remove (1998) - released on the cult label Sordide Sentimental who put out earlier works from the likes of Joy Division, Throbbing Gristle and Psychic TV.

After that they all but disappeared, not returning until eight years later with Radio Silence (2006) and Electric Suite (2008), both marking a departure from their early experimental electronica into a wider pool of kraut, psychedelic rock and atmospheric pop. Save for the odd single and live show, it took another six years to hear a full record from the band – that being the 2014 LP Position Normal which left them to pick up glowing, long-overdue praise across Europe.

Choosing not to leave it quite so long this time, enter Vonal-Axis: a nine-track LP that sees them attempt to hone in on their near quarter-century of experimentation to produce a collection of tracks that are sometimes poppy, sometimes heavy, but always exploratory.

The album was recorded by the band themselves on an old 8-track recorder, taking half-written songs into the studio and then improvising on top of them to maintain the energy the songs had when played live. Lending his production prowess on the mixing duties was Demian Castellanos, the mastermind behind The Oscillation, whom Steeple Remove became good friends with after both bands played together several years ago.

Among the long list of other bands Steeple Remove have shared the stage with is krautrock leviathans Faust and Damo Suzuki, London punk-rockers Wire and D.C. stoner rock troupe Dead Meadow - offering a pretty clear insight into the many sonic worlds Steeple Remove have journeyed into and found a home through the years.

Dutch industrialists RMFTM already showcased their collaborative mastery when they teamed up with Salford’s Gnod for the Temple ov BBV project and having now retired the former output, the Eindhoven four-piece are back with a new collab LP with fellow label-mates 10,000 Russos.

Portuguese trio 10,000 Russos are best known for conjuring up concrete slabs of kosmische psych-rock and now, having teamed up with a new completely electronic RMFTM, their repetitive droning mantras have manifested into a whole new beast – the looped, motorik chants feeding perfectly off of RMFTM’s throbbing free-form electronics.

Free from any sort of structure or direction, the result is an intense, jarring collection of deranged industrial freak-outs that make Einstürzende Neubauten sound like Depeche Mode.

Painting a dreary image of barren, polluted landscapes in the dystopia we seem so desperate to hurtle towards, on this record RMFTM and 10,000 Russos have carved out a soundtrack for the end of times whilst simultaneously asserting, once again, that both bands are some of the finest within the dark, murky underbelly of experimental music.

Tracklisting:1. A Song TO Get Rid Of The Crooked Crosses 2. Dazzling Rays 3. The World I Hunt 4. Clamber Into Night